SYMPHONIC EFFECTS AND A PERFORMANCE GUIDE IN RICHARD

STRAUSS’S

VIOLIN SONATA IN E-FLAT MAJOR, OP. 18

by

YIDAN ZHANG

(Under the Direction of Levon Ambartsumian)

ABSTRACT

This study evaluates the compositional style of Richard Strauss’s Violin Sonata in E-flat

major based on existing scholarly writings and my own analysis, with the purpose

of offering informed performance suggestions. Discussions of stylistic interpretation and

technical elements are included in each movement of the work. In addition, historical

background of the composer and the sonata is provided. The study discusses the

development of Strauss’ early chamber music. Performance suggestions are provided on

the aspects of bowings and fingerings, the rhythm difficulties, intonation preparation, the

balance of tone color, and the musical interpretation. Besides, comparisons with several of

Strauss’ orchestral works will be made in discussing of the orchestral effect that applied in

this sonata.

INDEX WORDS: Richard Strauss, Violin Sonata in E-flat Minor, style, analysis,

interpretation, practice suggestions, orchestral effects.

 SYMPHONIC EFFECTS AND A PERFORMANCE GUIDE IN RICHARD

STRAUSS’S

VIOLIN SONATA IN E-FLAT MAJOR, OP. 18

by

YIDAN ZHANG

B.M., Shanghai Conservatory of Music, China, 2013

M.M., Columbus State University, 2017

A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial

Fulfillment of the Requirements for the Degree

DOCTOR OF MUSICAL ARTS

ATHENS, GEORGIA

2021
 © 2021

Yidan Zhang

All Rights Reserved

 THE SYMPHONIC EFFECTS AND THE PERFORMANCE GUIDE IN RICHARD

STRAUSS’S

VIOLIN SONATA IN E-FLAT MAJOR, OP. 18

by

YIDAN ZHANG

Major Professor: Levon Ambartsumian

Committee: Milton Masciadri
Emily Koh

Electronic Version Approved:

Ron Walcott
Vice Provost for Graduate Education and Dean of the Graduate School
The University of Georgia
August 2021
 ACKNOWLEDGEMENTS

First, I would like to thank my major professor, Dr. Levon Ambartsumian for his

guidance, and constant support of my study during my school years at the University of

Georgia. I am grateful to him for sharing his knowledge and artistic insight, giving his

precious time, continuously encouraging and inspiring me to become a better musician

and scholar.

I would also like to thank the rest of my committee members Dr. Emily Koh and

Dr. Milton Masciadri for their generous help and suggestions on my project.

In addition, I would like to thank Mr. Anatoly Sheludyakov who is a great solo pianist

and accompanist. I could not complete my project without his devotion of time and

guidance.

Finally, I want to send my deepest love and thanks to my parents for their selfless

love and gracious support throughout my life especially in pursuing my music dreams in

the United States.

iv
 TABLE OF CONTENTS

Page

ACKNOWLEDGEMENTS ............................................................................................... iv

LIST OF TABLES ............................................................................................................ vii

LIST OF EXAMPLES ..................................................................................................... viii

CHAPTER

1 INTRODUCTION .............................................................................................1

Purpose and Significance .............................................................................1

Review of Literature ....................................................................................2

2 RICHARD STRAUSS’ HISTORICAL BACKGROUND ................................4

Richard Strauss’ early life and education ....................................................4

Richard Strauss’ compositional development and style ..............................6

History and characteristics of Sonata in E-flat major, Op.18 .....................7

3 ANALYSIS OF SONATA IN E-FLAT MAJOR, OP.18 ..................................9

Frist Movement ............................................................................................9

Second Movement .....................................................................................15

Third Movement ........................................................................................20

4 INTERPRETATION OF VIOLIN SONATA IN E-FLAT MAJOR ...............25

Rhythmic Considerations ...........................................................................25

Intonation Considerations ..........................................................................28

Balancing of Tone Color ............................................................................29

v
 Musical Interpretation ................................................................................31

Ensemble Challenge Considerations..........................................................33

5 IMITATION OF ORCHESTRA......................................................................36

6 CONCLUSSION..............................................................................................41

REFERENCES ..................................................................................................................43

APPENDICES

LECTURE-RECITAL SCRIPT .......................................................................46

vi
 LIST OF TABLES

Page

Table 1: Analysis of Richard Strauss’ Violin Sonata in E-flat Major,

First Movement ....................................................................................................................9

Table 2: Analysis of Richard Strauss’ Violin Sonata in E-flat Major,

Second Movement .............................................................................................................15

Table 3: Analysis of Richard Strauss’ Violin Sonata in E-flat Major,

Third Movement ................................................................................................................20

vii
 LIST OF EXAMPLES

Page

Example 1: Richard Strauss, Violin Sonata in E-flat Major,

First Movement, mm. 1-10 ................................................................................................10

Example 2: Richard Strauss, Violin Sonata in E-flat Major,

First Movement, mm. 20-27 ..............................................................................................11

Example 3: Richard Strauss, Violin Sonata in E-flat Major,

First Movement, mm. 39-42 ..............................................................................................11

Example 4: Richard Strauss, Violin Sonata in E-flat Major,

First Movement, mm. 55-63 ..............................................................................................12

Example 5: Richard Strauss, Violin Sonata in E-flat Major,

First Movement, mm. 79-88 ..............................................................................................12

Example 6: Richard Strauss, Violin Sonata in E-flat Major,

First Movement, mm. 86-88 ..............................................................................................13

Example 7: Richard Strauss, Violin Sonata in E-flat Major,

First Movement, mm. 122-125 ..........................................................................................13

Example 8: Richard Strauss, Violin Sonata in E-flat Major,

First Movement, mm. 274-277 ..........................................................................................14

Example 9: Richard Strauss, Violin Sonata in E-flat Major,

Second Movement, mm. 23-26 ..........................................................................................16

Example 10: Richard Strauss, Violin Sonata in E-flat Major,

viii
Second Movement, mm. 51-52 ..........................................................................................17

Example 11: Franz Shubert, Erlkönig, mm.1-3 .................................................................17

Example 12: Richard Strauss, Violin Sonata in E-flat Major,

Second Movement, mm. 67-71 ..........................................................................................17

Example 13: Richard Strauss, Violin Sonata in E-flat Major,

Second Movement, mm. 74-77 ..........................................................................................18

Example 14: Richard Strauss, Violin Sonata in E-flat Major,

Second Movement, mm. 127-130 ......................................................................................19

Example 15: Quotation, Beethoven, Pathétique Sonata, Op. 13, Adagio, mm. 1-4 ..........19

Example 16: Richard Strauss, Violin Sonata in E-flat Major,

Third Movement, mm. 10-13 .............................................................................................20

Example 17: Richard Strauss, Violin Sonata in E-flat Major,

Third Movement, mm. 50-52 .............................................................................................21

Example 18: Richard Strauss, Violin Sonata in E-flat Major,

Third Movement, mm. 59 ..................................................................................................21

Example 19: Richard Strauss, Violin Sonata in E-flat Major,

Third Movement, mm. 84-85 .............................................................................................22

Example 20: Richard Strauss, Violin Sonata in E-flat Major,

Third Movement, mm. 141-150 .........................................................................................23

Example 21: Richard Strauss, Violin Sonata in E-flat Major,

First Movement, Head Motive, mm. 1-5 ...........................................................................25

Example 22: Richard Strauss, Violin Sonata in E-flat Major,

First Movement, mm. 93-95 ..............................................................................................26

ix
Example 23: Richard Strauss, Violin Sonata in E-flat Major,

Third Movement, mm. 283-333 .........................................................................................27

Example 24: Richard Strauss, Violin Sonata in E-flat Major,

First Movement, mm. 141 ..................................................................................................28

Example 25: Richard Strauss, Violin Sonata in E-flat Major,

Second Movement, mm. 111-114 ......................................................................................29

Example 26: Richard Strauss, Violin Sonata in E-flat Major,

First Movement, Violin Entrance ......................................................................................29

Example 27: Richard Strauss, Violin Sonata in E-flat Major,

First Movement, mm. 25-38 ..............................................................................................30

Example 28: Richard Strauss, Violin Sonata in E-flat Major,

Second Movement, mm. 28-35 ..........................................................................................30

Example 29: Richard Strauss, Violin Sonata in E-flat Major,

First Movement, mm. 32-45 ..............................................................................................31

Example 30: Richard Strauss, Violin Sonata in E-flat Major,

First Movement, mm. 164-182 ..........................................................................................32

Example 31: Richard Strauss, Violin Sonata in E-flat Major,

Second Movement, mm. 15-37 ..........................................................................................33

Example 32: Richard Strauss, Violin Sonata in E-flat Major,

Second Movement, mm. 76-82 ..........................................................................................34

Example 33: Richard Strauss, Violin Sonata in E-flat Major,

Third Movement, mm. 307-314 .........................................................................................35

Example 34: Richard Strauss, Violin Sonata in E-flat Major,

x
Head Motive, mm. 1-5 .......................................................................................................36

Example 35: Richard Strauss, Macbeth, Op.23, mm. 1-7..................................................37

Example 36: Richard Strauss, Violin Sonata in E-flat Major,

First Movement, mm. 274-287 ..........................................................................................38

Example 37: Richard Strauss, Violin Sonata in E-flat Major,

Second Movement, Animated Accompaniment ................................................................39

Example 38: Richard Strauss, Don Juan, Woodwinds Accompaniment ...........................39

Example 39: Richard Strauss, Violin Sonata in E-flat Major,

Third Movement, mm. 86-91 .............................................................................................40

xi
 CHAPTER 1

INTRODUCTION

Richard Strauss’ compositional legacy is remembered today mainly through his

numerous orchestral works. Much literature has been devoted to his remarkable operas,

tone poems, symphonies, and instrumental concertos, while chamber music was only a

small portion of his masterworks. This E-flat major sonata marks the maturity of Richard

Strauss’ composing. Even though this sonata is often performed on the stage today, it has

been relatively unresearched before the current dissertation. This project intends to

analyze the orchestral nature of this sonata through the aspects of the composer's

background, writing style, music structure, and performance considerations. The goal of

this project is to help scholars and artists understand this work comprehensively through

the aspects above.

1.1 Purpose and Significance

The purpose of this paper is to further discuss the composing style of this sonata

and through understanding the influence that Richard Strauss received from the previous

composers to find the source of the compositional development in his works. This project

is also going to compare several excerpts from this Sonata with passages from Richard

Strauss’ orchestral writing, such as Don Juan, Macbeth, and the orchestrated song

“Cäcilie”. I will present some discussion of Strauss’ chamber work that includes the

1
violin written before the sonata. An analytical description of each movement of the

sonata will be contained for showing the framework and providing the details for the

examination of the orchestral effects on both instruments. I will also isolate and examine

the technical concerns within the sonata and give analysis and suggestions from the

performer’s perspective. In this way, I hope to contribute a valuable reference to this

great work.

1.2 Review of Literature

There is not much extant material on this violin sonata. Most literature about

Strauss is on his symphonies and tone poems. Craig De Wilde’s dissertation The

compositions of Richard Strauss from 1871-1886: The emergence of “mad extremist”

gives a comprehensive musicological view of point, it mainly talks about Richard

Strauss’s early chamber work and the progress of his composing style.

There is a large degree of historical background provided in Richard Strauss

written by Kennedy Michael and Richard Strauss-The Man And His Work written by

Ernst Krause. Other biographical material on Richard Strauss such as Richard Strauss-

New Perspectives on the Composer and His Work written by Bryan Gilliam frequently

mention the influence receiving from the previous respected great composers and his

orchestral writing style.

According to Katz, Martin’s book: The Complete Collaborator, the examination

of Strauss’ orchestrations in his symphonic works gives a good explanation on how

pianists could bring out the richness of sound in Sonata for Violin and Piano in E-flat

Major and it also helps for a deeper understanding of the composer’s work. Several

2
comments in Norman Del Mar’s book Richard Strauss: a Critical Commentary on His

Life and Works also contribute to taking a closer look at the work from an expert's point

of view.

It is specifically mentioned that the E-flat major sonata draws heavily on the

works of Franz Schubert, Ludwig Van Beethoven, and Chopin in the book of Richard

Strauss by Kennedy Michael. So in the project paper and the lecture recital, the sources

mentioned above will be used in addition to other biographical texts on Richard Strauss.

3
 CHAPTER 2

RICHARD STRAUSS’ HISTORICAL BACKGROUND

2.1 Richard Strauss’ early life and education

Richard Strauss (1864-1949) was born in a musician family in Munich. His father

Franz Strauss (1822-1905) was a horn player in Munich Court Orchestra. Richard Strauss

displayed his talent and great interest in music at his early age, so Franz took a strict

approach to Richard’s education and based it on the practices of the older generation of

Viennese masters.

Strauss began to learn piano at the age of four and started violin lessons with his

father’s cousin Benno Walter (1847-1901) when he was eight. Soon, he played first

violin in the orchestra conducted by his father. At eleven, Strauss began studying

composition with Friedrich Wilhelm Meyer (1818-1893). During his study, Meyer

provided a good composing foundation in music theory, counterpoint, and

instrumentation. His father insisted on a firm grounding in the old classical masters such

as Beethoven, Haydn, and Mozart.1

In 1872, Strauss met Ludwig Thuille who was a composer and a theorist. They

exchanged views on composition techniques and the works of other composers,

especially that of Richard Wagner’s operas.

1
Kennedy, Michael. Richard Strauss by Michael Kennedy. Oxford, Oxford University Press, 1995.

4
 In the year of 1880, Strauss met Hans von Bülow who became an important

person to Strauss for the next few years. von Bülow had been a court conductor in

Munich. Strauss publicly credited von Bülow for teaching him “the art of interpretation.”2

With the help of von Bülow, Strauss successfully got his first job in Meiningen as both a

conductor and a composer.

Under the influence of von Bülow, Strauss devoted himself to the music of

Johannes Brahms and was encouraged to show his works to Brahms. Brahms praised

Strauss as a wonderful pianist and advised him on his orchestral works. When he was 21

years old, Strauss took over the position of the principal conductor at Meiningen after

von Bülow stepped down.3

That same year, Strauss met the composer and violinist Alexander Ritter (1833-

1896), who was strongly influenced by Wagner’s music. Because of Ritter, Strauss

started to merge the strict training he had received from his early age with the ideas

embodied in the works of Wagner. Strauss said, “it was Ritter who made me a

Wagnerian.”4 After meeting with Ritter, Strauss began to realize that the sonata form of

Beethoven and Schubert had ended its historic primacy. He came up with the idea of

developing a new form, so he turned his focus to the tone poem later. Strauss described

his viewpoint in these words: “Beethoven had expanded the sonata form to its utmost

limits…and that in Beethoven's epigones and especially in Brahms, sonata form had

become an empty shell…New ideas must search for new forms-this basic principle of

2
Kennedy, Michael. Richard Strauss by Michael Kennedy. Oxford, Oxford University Press, 1995.
3
Matthew Boyden, Richard Strauss (Boston: Northeastern University Press, 1999).
4
Schuh, Richard Strauss,116.

5
Liszt’s symphonic works, in which the poetic idea was the formative element, became

from then onwards the guideline for my own symphonic works”5.

2.2 Richard Strauss’ compositional development and style

As a child under the teaching of his father, Strauss’ early works had a strict

Classical taste, similar to that of Haydn, Mozart, and Beethoven. However, with the

influence of Ritter, he began to get involved in the program music represented by Wagner

and Liszt. Strauss gradually abandoned the classical style that he had received from his

early age and started writing tone poems. The first work fully showing Strauss’ musical

maturity is Don Juan (1888) which displays a new virtuosity in the treatment of the

instrumentation.

Strauss turned his attention to opera at the end of the 19th century and wrote

several well-known works such as Guntram (1894) and Feuersnot (1901). At the

beginning of the 19th century, he devoted himself to stage music. Several operatic

masterpieces such as Salome (1905) and Elektra (1909) were soon produced. The opera

Der Rosenkavalier took romantic lyricism from the two previous operas to a greater

height. These three operas became the central ones in his musical output. Strauss used a

lush melody with Wagnerian chromatic harmonies and exhibited immense virtuosity in

his later orchestral writing.6 His late symphonic works including the Symphonia

Domestica Op.53 (1903) and Eine Alpensinfonie Op.64 (1915).

5
Kennedy, Michael. Richard Strauss by Michael Kennedy. Oxford, Oxford University Press, 1995.
6
Tsai, Pei-Chun. “Richard Strauss’s Violin Writing in His Early Years from 1870 to 1898: the Influence of
the Violin Sonata” (DMA diss., The City University of New York, 2009).

6
 Strauss’ works covered all genres of music, though the most notable ones are the

symphonic poems and operas between the later 19th century and the early 20th century.

Strauss had many works reflecting his love for Mozart. The integration of the Classical

style has been displayed in the instrumental works of his later years. Strauss is famous for

his orchestration which skillfully taking full advantage of the orchestra sound, arranging

every instrument imaginatively with perfect structure, using creative ideas and bravura

complex counterpoint manners.

2.3 History and characteristics of Sonata in E-flat major, Op.18

Strauss' early works are mainly songs, piano music, and some chamber work all

of which displayed his high level of compositional foundation and classical style. After

visiting southern Italy in 1886, Strauss wrote a symphony called ‘Aus Italien’ (op. 16)

that served as a cornerstone work. His next output was the symphony poem ‘Macbeth’.

‘Macbeth’ is Strauss’ first work combining the symphonic poem with literature. It took

him four years to complete this work. He turned to write the Violin and Piano Sonata in

E-flat major in the middle of composing Macbeth. At this time, Strauss has a thorough

understanding of the capabilities of the violin as a solo instrument. In September 1888,

Strauss finished the tone poem ‘Don Juan’7. Due to the overlapping composition periods

between these three works, there are traces of mutual borrowing between them8.

7
Wayne Jr. Heisler (2010). Maturity and indecision in the early works. The Cambridge Companion to
Richard Strauss. P. 53. http://dx.doi.org/10.1017/CCOL9780521899307 (Accessed 2017.03.04)
8
Huang, Chi-Wei. “The Analysis and Interpretation in Performance of the Sonata for Violin and Piano in
E-flat major op.18 by Richard Strauss.” Master thesis, Soochow University, 2017.

7
 Strauss had three works in the sonata genre, all of which belonged to his early

output: the Piano Sonata op.5 in B minor (1881), the Sonata for Cello and Piano op.6 in

F major (1883), and this Sonata for Violin and Piano in E-flat major (1887)9.

This E-flat major sonata was written in the summer of 1887 and is the most

important composition from this early period. It serves as a bridge between his early style

and the later mature works. This sonata contains rich harmonic language, complex

rhythms, large melodic contours, and motivic development that expands and unifies the

work.

9
Gilliam, Bryan Randolph. Richard Strauss: New Perspectives on the Composer and His Music. Durham:
Duke University Press, 1992.

8
 CHAPTER 3

ANALYSIS OF SONATA IN E-FLAT MAJOR, OP.18

Richard Strauss’ Sonata for Violin and Piano in E-flat major, Op.18, was written

in 1887, and is the last chamber piece by Strauss. This sonata consists of three

movements. The first and third movements are both in E-flat major, while the second

movement is in the subdominant key, A-flat major. The second movement, titled

Improvisation, was finished last. This sonata was written in a unique style that contains

complex counterpoints and frequent modulations. The themes are full of contrasting

elements.

3.1 Frist movement - Allegro ma non troppo

Table 1: Analysis of Richard Strauss’ Violin Sonata in E Flat Major, First Movement.

Exposition

PT1 PT2 ST1 ST2

mm. 1-21 mm. 21-38 mm. 39-58 mm. 59-86

Development

P1 & P2 P3 & (P1 P2) P1 & P2 P1 & P2

mm. 86-121 mm. 122-163 mm. 164-200 mm. 86-121

Recapitulation

PT1 ST1 TS CT Coda

mm. 200-220 mm. 221-240 mm. 241-259 mm. 259-288 mm. 288-311

9
 The piano opens with a declamatory fanfare evocative of a heroic horn call on the

tonic chord, brightly establishing the thematic motive which consists of a dotted rhythm

and a triplet. In contrast with the piano, the violin softly joins with the dynamic of

“piano”. As the violin melody continues climbing, the piano assists with rich octaves,

increasing the emotional intensity with a crescendo. The passionate first theme fades

away with a decrescendo in mm. 16-18 (Example 1).

Example 1. Richard Strauss, Violin Sonata in E-flat Major, First Movement, mm. 1-10.

Richard Strauss 'Violin Sonata op. 18'

© Copyright by Universal Edition A.G., Wien / UE 33385
(All the following examples were used by permission)

In stark contrast with the bombastic opening, Strauss introduces Primary Theme 2

(PT2) with a lyrical piano melody followed by a response from the solo violin. This

theme could be considered an imitation of the human voice because of its inherent

lyricism (Example 2).

10
Example 2. Richard Strauss, Violin Sonata in E-flat Major, First Movement, mm. 20-27.

The music moves into the Secondary Theme 1 (ST1) from measure 39 with a

modulation to C minor. A stormy accompaniment of sixteenth-note arpeggios by the

piano creates a richer texture (Example 3).

Example 3. Richard Strauss, Violin Sonata in E-flat Major, First Movement, mm. 39-42.

The key moves to B-flat major in mm. 59 which is also the beginning of

Secondary Theme 2 (ST2). The piano continues an alternating triplet pattern between

both hands while the violin plays a sustained, rising melody (Example 4).

11
Example 4. Richard Strauss, Violin Sonata in E-flat Major, First Movement, mm. 55-63.

Example 5. Richard Strauss, Violin Sonata in E-flat Major, First Movement, mm. 79-88.

12
 Strauss presents a variation on the head motive in a call-and-response gesture

between the two instruments with dynamic contrasts. Theme 2 is then quietly recalled at

mm. 79. Both instruments then take turns playing the head motive and the violin brings

the music into the development section with a rapid ascending scale (Example 5).

The development again starts with the head motive, followed by fragments of PT1

and PT2 (Example 6). The key shifts to A minor in mm. 122 which is the beginning of

the second section of the development. The material of the secondary theme occurs in

mm. 122-145 (Example 7).

Example 6. Richard Strauss, Violin Sonata in E-flat Major, First Movement, mm. 86-88.

Example 7. Richard Strauss, Violin Sonata in E-flat Major, First Movement, mm. 122-

125.

13
 From mm. 133, the previously assigned violin melody emerges in the piano and

combines the same stormy sixteenth-note accompaniment with an imitative counterpoint

in a predominant passage. The music calms down from mm. 148-159 and grinds to a halt

before the piano reemerges with a passage of forte octaves. Another rapid ascending scale

quickly modulates the key to F-sharp minor and leads the music into the last part of the

development.

The violin melody remains in the key of F-sharp minor and repeats the motive

pattern from mm. 183 until it shifts to the dominant key at mm. 195. Most of the

materials in the development are embellished with frequent modulations.

The recapitulation starts again with the head motive from mm. 200, but unlike the

exposition, the theme in B-flat is quiet and soft. After PT1, the music goes directly into

ST1. It then moves into the ST2 at mm. 241. The violin, in A major, plays in a higher

register with dynamics shifting from piano to forte to give a brilliant climax. A “call-and-

response” gesture between the two instruments from mm. 249 leads to a continuation of

ST2. Strauss maximizes the range of the piano with thick chords, fast sixteenth notes, and

bass octaves that push the music to a heroic final climax (Example 8).

Example 8. Richard Strauss, Violin Sonata in E-flat Major, First Movement, mm. 274-

277.

14
 The coda starts from mm. 288. Fragments of the first and second themes present

softly and gradually calm the excitement. After an energetic unison of both instruments

and a fast ascending scale, the first movement finishes on three brilliant chords, providing

a magnificent and operatic ending10.

3.2 Second movement - Andante cantabile

Table 2：Analysis of Richard Strauss’ Violin Sonata in E-flat Major, Second Movement.

A
a1 a2 Trans a1’ Trans
mm. 1-12 mm. 13-26 mm. 26-27 mm. 28-45 mm. 45-48
B
b1 b2
mm. 48-73 mm. 74-90
A’
a1 a2 coda
mm. 91-101 mm. 102-127 mm. 127-136

The second movement, titled Improvisation: Andante cantabile, is a rounded

binary form and in A-flat major. This movement was written as a separate piece for violin

and piano before being incorporated into the final version of the sonata11. Michael

Kennedy believes that the middle section of the second movement sounds similar to

Schuber’s Erlkönig, and the returning A’ section makes Chopinesque Nocturne

references. The coda sounds similar to the Adagio of Beethoven’s Pathétique piano

sonata12.

10
Kennedy, Michael. Richard Strauss by Michael Kennedy. Oxford, Oxford University Press, 1995. P. 117.
11
del Mar, Richard Strauss, 48.
12
Kennedy, Michael. Richard Strauss by Michael Kennedy. Oxford, Oxford University Press, 1995. P. 118.

15
 The violin opens the second movement with a song-like melody in A-flat major.

The simplicity of the opening imitates a solo female voice which is reminiscent of

Schubert's lieder. One distinguishing feature in the A section is the use of “echo”. The

same melodic gestures occur at the end of each phrase (Example 9).

Example 9. Richard Strauss, Violin Sonata in E-flat Major, Second Movement, mm. 23-

26.

A new tempo at mm.13 marks the start of the second theme (a2). The syncopated

accompaniment provides a pushing motion. Both instruments take turns playing the same

gesture. It gives continuity to this section until the piano takes over the violin's melody at

mm. 25 and connects to the returning section from mm. 28. This returning section is

made up of variations of the opening theme which adds to the improvisatory character of

the movement.

A transitional section from mm. 45-48 characterized by a constant triplet gesture

on the piano links the A and B sections. The violin joins at the end of mm. 48, marking

the beginning of section B. Compared to the lyrical melody in section A, the stormy

accompaniment of the piano gives the music a strong sense of tension. Here, the piano is

16
playing a quotation of the opening figure of Schubert’s Erlkönig13 (Example 10 & 11).

The uneasy motion continues until mm. 70 while the accompaniment finally shifts to

syncopations and gradually fades the tension. (Example 12).

Example 10. Richard Strauss, Violin Sonata in E-flat Major, Second Movement, mm. 51-

52.

Example 11. Franz Shubert, Erlkönig, mm. 1-3.

Example 12. Richard Strauss, Violin Sonata in E-flat Major, Second Movement, mm. 67-

71.

13
Kennedy, Michael. Richard Strauss by Michael Kennedy. Oxford, Oxford University Press, 1995.

17
 Section b2 starts from mm. 74 with embellished, Chopinesque dance-like

ascending arpeggios on both instruments (Example 13).

Example 13. Richard Strauss, Violin Sonata in E-flat Major, Second Movement, mm. 74-

77.

The returning section starts in mm. 91. From mm. 101, melodic material from

Theme a2 and Theme b1 are incorporated, reuniting the previous thematic material and

creating a sense of climax.

A call-and-response gesture between both instruments in the coda again implies

the character of “Improvisation” (Example 14). Afterward, the piano plays a quotation of

Beethoven’s Pathetique Sonata, Op. 13. (Example 15). The movement comes to a close

with the piano’s harp-like ascending arpeggio.

18
 Example 14. Richard Strauss, Violin Sonata in E-flat Major, Second Movement, mm.

127-130.

Example 15. Quotation, Beethoven, Pathetique Sonata, Op. 13, Adagio, mm. 1-4.

Overall, Strauss uses wide melodic ranges and large leaps in the second

movement. A variety of expressive devices reaffirm the “Improvisation” title. Strauss

also achieves this improvisational mood through the use of unexpected harmonies,

textural changes, and the free exchange of melodic material between the two instruments.

19
3.3 Third Movement - Finale: Andante-Allegro

Table 3: Analysis of Richard Strauss’ Violin Sonata in E-flat Major, Third Movement.

Exposition
Introduction P1 TR1 P2 TR2 S
mm. 1-9 mm. 10-31 mm. 31-50 mm. 50-58 mm. 58-82 mm. 83-122
Development
P1 P1 & P2 TR2 Retransition
mm. 123-141 mm. 141-169 mm. 169-215 mm. 215-220
Recapitulation
P1 TR1 ExtensionP1 Coda1 Coda2 Codetta
mm. 221-242 mm. 242-262 mm. 263-275 mm. 275-316 mm. 316-361 mm. 362-373

A slow piano introduction (mm. 1-9) with several somber and mysterious chords

opens the third movement. An energetic Allegro (PT1) disrupts the music with a “dotted

triplet” rhythmic gesture that imitates the heroic head motive from the first movement

(Example 16). The rapid, ascending sixteenth-note gesture afterward adds to the

victorious character. The piano accompaniment creates a powerful symphonic effect with

its embellished arpeggio.

Example 16. Richard Strauss, Violin Sonata in E-flat Major, Third Movement, mm. 10-

13.

20
 The violin presents a theme from mm. 31 that echoes PT2 in the first movement.

The “call and response” structure starting from mm. 40 is like a fierce quarrel, coupled

with aggressive “dotted-triplet” rhythmic patterns. The piano pedal effect gives the music

even more tension.

PT2 starts from mm. 50 (Example 17). The piano supports an expressive violin

melody with sixteenth-note arpeggios. In contrast with the lyrical second theme, a new

material (“motive b”) from mm. 59 presents a light scherzando figure. This motive is

used throughout the remainder of the third movement (Example 18).

Example 17. Richard Strauss, Violin Sonata in E-flat Major, Third Movement, mm. 50-

52.

Example 18. Richard Strauss, Violin Sonata in E-flat Major, Third Movement, mm. 59.

21
 In contrast with the principle theme, the secondary theme arrives with a key

change to C Major in mm. 83. The piano assists with a series of embellished arpeggios

(motive c) spanning the left and right hands until the violin takes over this motive in mm.

103 (Example 19).

Example 19. Richard Strauss, Violin Sonata in E-flat Major, Third Movement, mm. 84-

85.

The development section starts at mm. 123. A small preparation (mm. 123-140)

combining the fragments of the motive a1 and c, increases the excitement of the music

and leads to the return of PT2.

The following section (mm. 141-169) is a combination of the previous materials

(Example 20). Fragments of PT1 and PT2 are alternately presented. The tonality is

unstable in this section by passing through A-flat Major, G minor, C minor, to D-flat

Major. From mm. 169-125, the scherzando gesture (motion b) returns on both

instruments. This passage is entirely pianissimo until a fortissimo dominant seventh chord

appears at mm. 215. This launches a brillante, cadenza-like flourish on the piano, and

propels the passage into the next section.

22
Example 20. Richard Strauss, Violin Sonata in E-flat Major, Third Movement, mm. 141-

150.

The recapitulation starts from mm. 221. After a restatement of PT1, the music

goes directly into the second theme in mm. 246. The violin soars with the melody in a

high register and continues building up the intensity. A combination of the head motive

and transitional theme, assisted by a crescendo, leads the music to another climax.

However, Strauss surprisingly drops the dynamic, as the music moves to the coda.

The Coda (mm. 275-373) is divided into three sections. The first section, mm.

275-316, is virtuosic. The violin and piano constantly pass the same figure back and

forth. In the second section, mm. 316-361, the principal theme returns. The final section,

mm. 362-373 (codetta), continues with the previous material as the piano plays

23
embellished arpeggios with pedals. Finally, the music comes to a brilliant close with both

instruments playing together on tonic chords.

24
 CHAPTER 4

INTERPRETATION OF VIOLIN SONATA IN E-FLAT MAJOR

4.1 Rhythmic Considerations

The head motive combines dotted rhythm with triplets runs through the entire sonata. It is

essential to make a clear distinction between the duple and triple rhythm to convey the

rhythmic intricacy of the themes. There are two concerns when playing this motive

(Example 21).

Example 21. Richard Strauss, Violin Sonata in E-flat Major, First Movement, Head
Motive, mm. 1-5.

1. Strauss consistently writes an accent on each sixteenth note and follows with

triplets in this motive (Example 22). Most of the accents are on the off-beats and

the continuation of this rhythm naturally creates a hectic and uncertain feeling.

Thus, it is easy to rush the triplets while trying to emphasize the accent note. This

results in the illusion of what sounds like four sixteenth notes instead of “duple

25
 against triple”. The violinist should play with fast bow speed and heavy bow

pressure to emphasize the accented notes and articulate the sixteenth notes by

knocking the fingerboard rapidly with the left hand.

2. The triplet needs to be played evenly especially when this motive is constantly

repeating. In order to meet the musical demands, the emphasis is placed on the

first note of the triplet results in rushing. It diminishes the rhythmic accuracy and

character of the main theme. Here the rhythm of the piano is staggered with that

of the violin. Players need to be aware that the sixteen notes should be presented

short enough and behind the triplet notes in the piano part instead of being placed

ahead of time and hitting the last piano’s triplet note.

Example 22. Richard Strauss, Violin Sonata in E-flat Major, First Movement, mm. 93-95.

There is another rhythmic challenge in the third movement. Strauss wrote a whole

section in 6/8 (Example 23). In this section, the entrance of the pick-up notes after the

rest needs to be precise and the two eighth notes need to be steady. Also, the last note on

each beat should not drag in order to avoid displacement of syncopation.

26
Example 23. Richard Strauss, Violin Sonata in E-flat Major, Third Movement, mm. 283-

333.

Mm. 304-315 is a section with different permutations of sixteenth-notes and

eighth-notes. The music climbs upward rapidly and coupled with a crescendo, creates an

invigorating climax. Players should articulate each sixteenth note and play steadily to

avoid rushing through like passing notes. Especially during moments of emotional

expressiveness, the whole paragraph tends to get faster and faster. Performers are

encouraged to practice with subdivided beats. The contact point of the bow and the

strings should be at the lower half to balance the length of the bow and the duration of

each note.

27
4.2 Intonation Considerations

4.2.1 Large Leaps

A distinct character of Strauss’ composition is the utilization of a wide range of

pitch and melodic contours. Strauss fully explores the range of the violin. To create a

unique and expressive sonority, he writes most of the principal themes in the highest

register of the violin.

Large shifts across two octaves in mm. 141 and mm. 236 (Example 24).

Example 24. Richard Strauss, Violin Sonata in E-flat Major, First Movement, mm. 141.

In order to achieve a higher level of expressiveness, Strauss uses a fortissimo on

this big shift. For better intonation, the shifting should not be fast so that performers

could find the note Bb on the D string, then stretch the third finger to reach Eb. The right

hand should assist the left hand by starting the bow at a slower speed, then speeding up.

Mm. 111-114 in the second movement provides another example of large leaps

(Example 25). The left hand has to shift from the ninth to first position and immediately

shift back to the fourth position within two bars. Though slurs are placed above the first

two notes in this passage, some space is necessary in order to keep the sound clean.

Players are suggested to lift the finger quickly and prepare for the shift ahead.

28
 Example 25. Richard Strauss, Violin Sonata in E-flat Major, Second Movement, mm.

111-114.

4.2.2 Extended Fingering

The beginning of the sonata provides an excellent example of Strauss’ use of

complex melodic contours. To keep the continuity of the opening melody and achieve a

unified tone color, the extended fourth finger is suggested to avoid a large number of

shifts and string crosses (Example 26).

Example 26. Richard Strauss, Violin Sonata in E-flat Major, First Movement, Violin

Entrance.

4.3 Balance of Tone Color

The tone of the E string is bright and sharp. In some cases, it is recommended that

players consider using higher positions on A or D strings to make a unified tone color. In

the example below, along with the crescendo, the color of the second phrase is supposed

29
to be richer than the previous one. Players are suggested to play this phrase on D string

instead of A string to add expressiveness (Example 27).

Example 27. Richard Strauss, Violin Sonata in E-flat Major, First Movement, mm. 25-38.

Mm. 27-32 in the second movement imitates a solo female voice in the dynamic

of “pp” (Example 28). The music moves down to “ppp” in mm.33. It is recommended

that violinists play this section on D and A string conforming to the quiet and peaceful

temperament of the music. Besides, the contact point of the bow and the string should be

closer to the fingerboard, and the bow hair could be slightly tilted to reduce the contact of

the string. Besides, the bow should stay on the string to keep the phrase coherent. Fewer

bow changes should be used to avoid the interruption of the continuity and coherence of

the phrase.

Example 28. Richard Strauss, Violin Sonata in E-flat Major, Second Movement, mm. 28-

35.

30
4.4 Musical Interpretation

4.4.1 Dynamic Interpretation

Mm. 37-38 of the first movement is “ff”. The note D in the double stop illustrates

the composer’s efforts of making it staunch. Therefore, players are suggested to play this

note with strong bow and slow bow speed. The bow weight needs to be maintained

during the entire five and a half beats. The first two sixteenth notes should be separated to

facilitate the arrangement of the bow on the following ascending scale. At the same time,

the speed of the bow should not be too fast. The contact point of the bow and the string

could gradually get closer to the bridge until reaching the highest note G. In contrast with

the previous character, the first sixteenth note C on mm.44 should be particularly

articulated and catch the string like a staccato note (Example 29).

Example 29. Richard Strauss, Violin Sonata in E-flat Major, First Movement, mm. 32-45.

4.4.2 Accent Interpretation

Accents are frequently used in this sonata. In addition to the ones used in the head

motive of the first movement, they are also widely utilized in other situations and

movements. However, the interpretation of accents should be differentiated according to

the expressive needs of the music.

31
 Strauss adds an accent on almost every sixteenth note from mm. 164-182 in the

development of the first movement in order to express a resolute temperament (Example

30). Most of the accents in this section occur after a dotted eighth rest which gives

players space to prepare for the following sixteenth note. It is recommended that players

take the bow back to the lower half quickly. The bow hair needs to fully catch the string

in order to give a powerful sound while playing each accent. The pressure on the right

hand has to be immediately released after the accent. In addition, Strauss put an accent on

each triplet note in mm. 182. Players need to maintain the pressure of the bow after

catching the string and lengthen the bow. It is also important to emphasize each note with

the right hand to bring out the dramatic expression intended by the composer.

Example 30. Richard Strauss, Violin Sonata in E-flat Major, First Movement, mm. 164-

182.

In contrast with the first movement, the utilization of accents in the second

movement requires a different method of articulation (Example 31). In this movement,

the tender melody is tinged with sadness. Unlike the previous movement, the accent

should be realized by the increase of the bow speed. Players could push the bow with the

32
right hand and move the bow closer to the fingerboard. The frequency of the vibrato on

the accent note could be slightly faster to add expressivity.

Example 31. Richard Strauss, Violin Sonata in E-flat Major, Second Movement, mm. 15-

37.

4.5 Ensemble Challenge Considerations

Strauss conveys the spirit of a large-scale orchestral work within the confines of

chamber music in this sonata. As a result, the texture is complex which requires the

players to have a comprehensive understanding of the ensemble.

4.5.1 Familiarity with the full score

This “pp” section with sordino in the violin requires utmost attention to the

piano’s main melody (Example 32). The entrance of the thirty-second notes in mm. 82

requires listening to the flowing melody from the piano instead of counting rigid beats.

33
Example 32. Richard Strauss, Violin Sonata in E-flat Major, Second Movement, mm. 76-

82.

4.5.2 Cooperation with the piano

In this section, both instruments continuously pass the scherzando figure back and

forth in a section with free chromatic modulations (Example 33). It requires high

accuracy of rhythm, as both players need to fit and follow each other’s melodic trends.

Players need to not only count the beats in their own parts but also listen to each

other's phrases and count with subdivided beats based on the overall trajectory of the

phrases. Besides, the eight notes in the violin part are mostly staccatos and the 16th notes

34
are with slurs which shows the composer's intention to unify the articulation of both

instruments. The violin should imitate the articulation of the piano here.

Example 33. Richard Strauss, Violin Sonata in E-flat Major, Third Movement, mm. 307-

314.

35
 CHAPTER 5

IMITATION OF ORCHESTRA

Strauss often utilizes striking openings to grab attention and provide the

foundation for motivic development in his orchestral works. The piano’s opening gesture

displays similarities to several of his symphonic works. The direct and grandiose “brass-

like” statement advocates for a full symphonic treatment. Similar to Strauss’ symphonic

poem Macbeth, the opening of Macbeth uses the “horn-like” motive to create a noble

temperament (Example 34 & 35).

Example 34. Richard Strauss, Violin Sonata in E-flat Major, Head Motive, mm. 1-5.

36
 Example 35. Richard Strauss, Macbeth, Op.23, mm. 1-7.

An orchestral flourish appears from m. 276. The piano’s harmony gradually gets

thicker and more operatic, and the violin’s melody soars high on the E string. In m. 286,

the piano reaches a massive orchestral gesture by breaking the chords into a fast

ascending arpeggio assisted with pedals. Strauss tends to accentuate the explosive

orchestral effect rather than the individual clarity of each note here (Example 36). The

writing for the violin and piano resembles Strauss’s thick orchestration and the sweeping

gestures exemplified in the passage from Don Juan14.

14
Thomas Nixon, “The Imitation of Orchestral Effects and the Expressive Role of the Piano in Richard
Strauss’s Sonata for Violin and Piano in E-flat Major, Op. 18: A Performance Guide for Pianists” (DMA
research paper., Arizona State University, 2014)

37
Example 36. Richard Strauss, Violin Sonata in E-flat Major, First Movement, mm. 274-

287.

The stormy middle section in the second movement with the animated

accompaniment helps characterize the appassionato violin melody. To achieve a

mysterious character, the piano imitates the woodwinds in the orchestra with constant

sextuplets while the violin plays the passionate and restless melody (Example 37). Like

38
the texture in Don Juan, Strauss supports the energetic violin’s melody with the

woodwind’s pulsating sextuplets which creates a heroic character (Example 38).

Example 37. Richard Strauss, Violin Sonata in E-flat Major, Second Movement,
Animated Accompaniment.

Example 38. Richard Strauss, Don Juan, Woodwinds Accompaniment.

39
 In the transition section of the third movement (from mm. 82), the piano

emphasizes the downbeat with percussion-like chords, then plays the arpeggios back and

forth across the entire range of the keyboard with a constant crescendo while the violin

soars above playing the melody in a high register. In addition, Strauss adds pedals in this

section to broaden the sonority and make it sound as powerful as an orchestra (Example

39).

Example 39. Richard Strauss, Violin Sonata in E-flat Major, Third Movement, mm. 86-

91.

40
 CHAPTER 6

CONCLUSION

Due to the early strict classical music training, the style of Strauss’ early works

before the sonata was simple and constrained. After receiving the influence of several late

romantic composers, the violin sonata, as the final output from Strauss’s early years, is

the first work that expands the conventional sonata and full of symphonic influences that

are beyond the scope of traditional chamber music15. The complex characteristics applied

in this sonata became the expressive basis of his later tone poems.

This sonata was a turning point in his compositions, as can be heard in the diverse

and mature voice in this sonata. It uses traditional sonata form with different tone colors,

musical language, and contrasting expressivity. The utilization of complex melodic

contours, wide ranges, large leaps in the melody, explosive ascending scales, extreme

dynamics, and expressions make this sonata symphonic in nature.

Though this sonata was written for only two instruments, it is intrinsically

orchestral in design. The inherent grandeur in this sonata, as well as the virtuosity,

requires the players to think in an orchestral manner in order to imitate the different

instrument colors. Since Strauss mostly composed for large orchestra, he had an

15
Thomas Nixon, “The Imitation of Orchestral Effects and the Expressive Role of the Piano in Richard
Strauss’s Sonata for Violin and Piano in E-flat Major, Op. 18: A Performance Guide for Pianists” (DMA
research paper., Arizona State University, 2014)

41
orchestral mentality. Hence, this sonata, especially the second movement, can be

considered a piano reduction of full orchestra.

42
 REFERENCES

Jefferson, Alan. The Life of Richard Strauss. Newton Abbot England: David & Charles,

1973.

Kennedy, Michael. Richard Strauss: Man, Musician, Enigma. Cambridge, UK:

Cambridge University Press, 2006.

Tsai, Pei-Chun. “Richard Strauss’s Violin Writing in His Early Years from 1870 to

1898: the Influence of the Violin Sonata” (DMA diss., The City University of

New York, 2009).

Bryan Gilliam& Charles Youmans (2014). Strauss, Richard. Grove Music Online. Oxford

Music Online. Oxford University Press.

Gilliam, Bryan Randolph. The Life of Richard Strauss. Musical Lives. Cambridge, UK;

New York, NY, USA: Cambridge University Press, 1999.

Gilliam, Bryan Randolph. Richard Strauss: New Perspectives on the Composer and His

Music. Durham: Duke University Press, 1992.

Youmans, Charles, ed. The Cambridge Companion to Richard Strauss. Cambridge

Companions to Music. Cambridge: Cambridge University Press, 2010.

Kennedy, Michael. Richard Strauss. Oxford, Oxford University Press, 1995.

43
Loft, Abram. Violin and Keyboard, Vol.2: from Beethoven to the Present. S.l.: Amadeus

Press, 1973.

Ernst Krause, Richard Strauss: The Man and His Work, trans. John Coombs.Boston:

Crescendo, 1969.

Yue, Runhai. Xi Fang Yin Yue Tong Shi. Shanghai: Shanghai Yin Yue Chu Ban She,

2013.

Katz, Martin. The Complete Collaborator: the Pianist as Partner. New York: Oxford

University Press, 2009.

Mar, Norman Del. Richard Strauss: a Critical Commentary on His Life and Works.

London: Barrie and Rockliff, 1986.

Craig De Wilde, The compositions of Richard Strauss from 1871-1886: The emergence

of “mad extremist” (Ph. D diss., University of California Santa Barbara, 1991).

Thomas Nixon, “The Imitation of Orchestral Effects and the Expressive Role of the Piano

in Richard Strauss’s Sonata for Violin and Piano in E-flat Major, Op. 18: A

Performance Guide for Pianists” (DMA research paper., Arizona State University,

2014).

Chi-Wei, Huang. “The Analysis and Interpretation in Performance of the Sonata for

Violin and Piano in E-flat major op.18 by Richard Strauss.” Master thesis,

Soochow University, 2017.

44
蔡佩玲（2006）。《理查．史特勞斯降 E 大調小提琴奏鳴曲作品十八管弦聲響探

討》硕士論文。臺南市：國立臺南藝術大學

陳怡文（2009）。《理查‧史特勞斯三部早期音詩〈馬克白〉、〈唐璜〉與〈死與

淨化〉之幻化》。碩士論文。臺北市：國立臺灣師範大學。

王茂榛（2011）。《論述理查．史特勞斯〈降 E 大調小提琴奏鳴曲〉》。碩士論

文。臺北市：國立臺北藝術大學。

45
 APPENDIX

LECTURE-RECITAL SCRIPT

Slide 1 (title of the lecture-recital and portrait of Richard Strauss)

Good afternoon. Welcome and thank you for coming to my lecture recital. The

topic of this lecture is “Symphonic effects and a performance guide in Richard Strauss’

violin sonata in E-flat major”. Today I will discuss Strauss’ only sonata for violin and

piano by focusing on structure, and stylistic aspects of this work. First, I will talk about

the background of the composer Richard Strauss.

Slide 2 (Richard Strauss’ early life and Compositional background)

Richard Strauss was born in a musician family in Munich in 1864. His father

Franz Strauss was a horn player in the Munich Court Orchestra. Richard Strauss

displayed his talent and great interest in music at his early age, so Franz took a strict

approach to Richard’s education and based it on the practices of the older generation of

Viennese masters.

Strauss began to learn piano at the age of four and started violin lessons with his

father’s cousin Benno Walter when he was eight. Soon, he played first violin in the

orchestra conducted by his father. At eleven, Strauss began studying composition with

Friedrich Wilhelm Meyer. During the years of study, Meyer provided a good composing

46
foundation in music theory, counterpoint, and instrumentation. His father insisted on a

firm grounding in the old classical masters such as Beethoven, Haydn, and Mozart.16

In 1872, Strauss met Ludwig Thuille who was a composer and a theorist. They

exchanged views on composition techniques and the works of other composers,

especially that of Wagner’s operas.

In the year of 1880, Strauss met Hans von Bülow who became an important

person to Strauss for the next few years. Hans von Bülow had been a court conductor in

Munich. With the help of von Bülow, Strauss successfully got his first job in Meiningen

as both a conductor and a composer.

Under the influence of von Bülow, Strauss devoted himself to the music of

Johannes Brahms and was encouraged to show his works to Brahms. Brahms praised

Strauss as a wonderful pianist and advised on his orchestral works. When he was 21 years

old, Strauss took over the position of the principal conductor at Meiningen after von

Bülow stepped down.17

That same year, Strauss met the composer and violinist Alexander Ritter (1833-

1896), who was strongly influenced by Wagner’s music. Because of Ritter, Strauss

started to merge the strict training he had received from his early age with the ideas

embodied in the works of Wagner. After meeting with Ritter, Strauss began to realize that

the sonata form of Beethoven and Schubert had ended its historic primacy. He came up

with the idea of developing a new form, so he turned his focus to the tone poem later.

Slide 3 (Compositional development and character of Richard Strauss)

16
Kennedy, Michael. Richard Strauss by Michael Kennedy. Oxford, Oxford University Press, 1995.
17
Matthew Boyden, Richard Strauss (Boston: Northeastern University Press, 1999).

47
 As a child under the teaching of his father, Strauss’ early works had a strict

Classical taste, similar to that of Haydn, Mozart, and Beethoven. However, with the

influence of Alexander Ritter, he began to get involved in the program music represented

by Wagner and Liszt. Strauss gradually abandoned the classical style that he had received

from his early age and started writing tone poems. The first work fully showing Strauss’

musical maturity is Don Juan (1888) which displays a new virtuosity in the treatment of

the instrumentation.

Strauss turned his attention to opera at the end of the 19th century and wrote

several well-known works such as Guntram (1894) and Feuersnot (1901). At the

beginning of the 19th century, he devoted himself to composing for the stage. Several

operatic masterpieces such as Salome (1905) and Elektra (1909) were soon produced.

The opera Der Rosenkavalier took romantic lyricism from the two previous operas to a

greater height. These three operas became the central ones in his musical output. Strauss

used a lush melody with Wagnerian chromatic harmonies and exhibited immense

virtuosity in his later orchestral writing.18

Strauss’ works covered all genres of music, though most notable are the

symphonic poems and operas between the later 19th century and the early 20th century.

Strauss had many works reflecting his love for Mozart. The integration of the Classical

style has been displayed in the instrumental works of his later years.

Slide 4 (Background and characteristics of Sonata in E-flat major, Op.18)

18
Tsai, Pei-Chun. “Richard Strauss’s Violin Writing in His Early Years from 1870 to 1898: the Influence
of the Violin Sonata” City University of New York, 2009.

48
 Richard Strauss' early works are mainly songs, piano music, and some chamber

work all of which displayed his high level of compositional foundation and classical

style. After visiting southern Italy, Richard Strauss wrote a cornerstone symphony ‘Aus

Italien’ (op. 16). His next output, the symphony poem ‘Macbeth’ is Strauss’ first work

combining the symphonic poem with literature. It took him four years to complete this

work. He turned to write the Violin and Piano Sonata in E flat major in the middle of

composing Macbeth. At this time, Strauss has a thorough understanding of the

capabilities of the violin as a solo instrument. In September 1888, Richard Strauss

finished the tone poem ‘Don Juan’. Due to the overlapping composition periods between

these three works, there are traces of mutual borrowing between them.

This E-flat major sonata was written in the summer of 1887 and is the most

important composition from this early period. It serves as a bridge between his early style

and the later mature works. This sonata contains rich harmonic language, complex

rhythms, large melodic contours, and motivic development that expands and unifies the

work.

Slide 5 (Structure of the sonata)

This E-flat major sonata is in three movements. The second movement,

“Improvisation”, was finished last. The first and third movements are both in E-flat

major, while the second movement is in the subdominant key of A-flat major. This sonata

has numerous examples of complex counterpoints and features frequent modulations. The

themes are full of contrasting elements and comedic effects.

First movement: (show framework analysis picture)

49
 The development builds on the material in the exposition which keeps the

character of the work cohesive and reintegrates the themes as means of contrast. Through

this, Strauss enhances dramatic conflict within the work. It adopts chromatic modulation,

parallel key modulation, switching between tonic and dominant.

Slide 6. Second movement:

Strauss uses wide melodic ranges and large leaps on both instruments. The variety

of expressive devices reaffirm the title of “Improvisation”. Strauss also achieves this

improvisational mood through the use of unexpected harmonies, textural changes, and the

free exchange of melodic material between the two instruments.

Slide 7. Third movement:

This is an energetic movement. As a transition from the second, the third

movement begins with a quiet Brahmsian introspective introduction in the piano. The

violin breaks in with furious ascending passages that sweep over almost the whole range

of the instrument, then goes into a playful section with the tracing gesture between both

instruments. The contrasting elements applied through the entire movement display

Strauss’ dramatic writing style.

Slide 8 (Interpretation of the sonata and performance concerns)

Slide 9. Rhythm: There is a repetition of the head motive that runs through the

entire sonata. This head motive combines the dotted rhythm with triplets. It is essential to

make a clear distinction between the duple and triplet rhythms to convey the rhythmic

intricacy of the themes. There are two concerns about playing this head motive.

1. Strauss consistently writes an accent on each sixteenth note and follows with

triplets in this head motive. Most of the accents are adding on the off-beats and the

50
continuation of this rhythm naturally creates a hectic and uncertain feeling. Thus, it is

easy to rush on the triplet while the players trying to emphasize the accent notes. It turns

out to be four sixteenth notes on hearing instead of the “Duple against triple”. Here, I

suggest the violinist play with fast bow speed and heavy bow pressure to emphasize the

accent notes and articulate the sixteenth notes by having the left fingers knocking the

fingerboard rapidly.

2. The triplet has to be played evenly especially when this motive has been

constantly repeated. To meet the musical needs, when the emphasis is placed on the first

note of the triplet, rushing often occurs in the performance. It brings down the rhythmic

accuracy and the characteristic of the main theme. Here the rhythm of the piano is

staggered with that of the violin, players need to be aware that the sixteen notes should be

presented short enough and behind the triplet notes in the piano part instead of being

placed ahead of time and hitting the last piano’s triplet note.

Slide 10. There is another rhythm difficulty in the third movement. Strauss wrote

a whole section in 6/8 (show excerpt). In this section, the entrance of the pick-up notes

after the rest needs to be precise and the two eighth notes need to be steady. Also, the last

note on each beat should not be dragged to avoid sounding like syncopations.

Mm.304-315 has different permutations of sixteenth-notes and eighth-notes. The

pitches move upward rapidly, and coupled with a crescendo, brings the work to an

invigorating climax. Players should articulate each sixteenth note and play steadily to

avoid sounding like passing notes. Especially in the case of emotional expressiveness, the

whole paragraph trends to get faster and faster. Performers are suggested to practice with

51
subdivided beats. The contact point of the bow and the strings should be at the lower half

to balance the length of the bow and the duration of each note.

Slide 11. Intonation-large leap:

A distinct character of Strauss’ composition is the utilization of a wide range of

melodic contours. Strauss fully explored the range of the violin. To create a unique

expressive sonority, he put most of the principal themes in the highest register of the

violin.

Large shifts cross two octaves in mm.141 and mm.236 (See example). In order to

achieve a higher level of expressiveness, Strauss puts a double forte on this big shift. For

better intonation, the shifting is not suggested to be fast, performers could find the note

Bb on D string, then stretch the third finger to reach the note Eb. The right hand should

assist the left hand with starting the bow at a slower speed, then speed up.

Slide 12. Extended fingering

The beginning of the sonata provides an excellent example of Strauss’ use of

complex melodic contours. To keep the continuity and achieve a unified tone color, the

extended fourth finger is suggested to avoid a large number of shifts and string crosses.

(see the example and play)

Slide 13. Balancing of the tone color

The tone of the E string on violin is bright and sharp. In some cases, it is

recommended that players consider using the higher position notes on A or D strings to

make a unification of the tone color. (see the example and play). In the example, along

with the crescendo, the color of the second phrase is supposed to be richer than the

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previous one. Players are suggested to play this phrase on D string instead of A to add

expressiveness.

Slide 14 & 15 (Musical interpretation)

1. Dynamic interpretation

The section of mm.37-38 in the first movement is on the dynamic of “ff”. The

note D in double stop illustrates the composer’s efforts of making it staunch. Therefore,

players are suggested to play this note with a solid bow and slow bow speed. Players

need to maintain the bow weight during the entire five and a half beats.

The first two sixteenth notes are recommended to be separated to facilitate the

arrangement of the bow on the following ascending scale. At the same time, the speed of

the bow should not be too fast. The contact point of the bow and the string could

gradually get closer to the bridge until reaching the highest note G. In contrast with the

previous character, the first sixteenth note C on mm.44 should be particularly articulated

and catch the string like a staccato note. (play)

2. Accents interpretation

Accents are frequently used in this sonata. In addition to the ones used in the head

motive of the first movement, they are also widely added in other situations and

movements. However, the interpretation of the accents should be differentiated according

to the emotional needs of the music (see example).

For example, to express a resolute character, the composer added an accent on

almost every sixteenth note from mm.164-182 in the development of the first movement

(play).

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 It is recommended that players take the bow back to the lower part quickly. The

bow hair needs to fully catch the string to give a powerful sound while playing each

accent. The pressure on the right hand has to be immediately released after the accent. In

addition, Strauss put an accent on each triplet note in mm.182. Players need to maintain

the pressure of the bow after the string catch and enlarge the length of the bow and push

each note with the right hand to bring out the dramatic expression intended by the

composer.

In contrast with the first movement, the utilization of accents in the second

movement requires a different method of articulation. (see example). In this movement,

the melody is lyrical with the color of sadness. Different from the previous movement,

the accent should be based on the increase of the bow speed and the sufficient vibrato.

Players could push the bow with the right hand and get the bow close to the fingerboard.

The frequency of the vibrato on the accent note could be slightly faster for adding the

elasticity of the accent. (play)

Slide 16 & 17 (Ensemble challenge)

Strauss was trying to convey the spirit of a large-scale orchestral work within the

confines of chamber music in this sonata, so the texture is complex which requires the

players a comprehensive sense of ensemble.

1. Familiar with the full score (show example)

This whole section was written on the dynamic of “pp” with the con sordino in

the violin part. The violin players need to pay attention to the piano’s main melody and

get the entrance of the thirty-second notes in mm.82 by listening to the flowing melody

passing from the piano instead of counting on the rigid beats. (play)

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 2. Cooperate with the piano

As the above example showed, the two instruments continuously pass the

scherzando figure back and forth in a section with free chromatic modulations. It requires

high accuracy of the rhythm, also both players need to fit and follow each other’s melodic

trends. As such, players need to not only count the beats in their own parts but also need

to listen to each other's phrases and count with inner subdivided beats based on the

overall trend of the phrases.

The eight notes of the violin part are mostly staccatos and the 16th notes are

added with slurs which shows the composer's intention to get the articulation of both

instruments unified. The violin players need to imitate the articulation and the key couch

of the piano for the staccato notes here and differentiate them with the slurred sixteen

notes.

Slide 18 & 19 (imitation of the orchestra, two examples only)

1. Strauss often utilizes striking openings to grab attention and provide the basis

for the entire motivic development in his orchestral works. The piano’s opening gesture is

foreshadowing the writing style of his symphonic works. The direct and grandiose

statement advocating the full symphonic treatment, suggestive of a full brass section.

This grand opening is similar to Strauss’ orchestral song Cäcilie, and the entrance of the

solo voice develops the head motive provided by the orchestra.

2. In the transition section of the third movement (from mm.82): the piano

emphasizes the downbeat with chords like percussion, then playing the arpeggios back

and forth sweeping across the entire range of the keyboard with a constant crescendo

while the violin is soaring up playing the melody at the high registration. Strauss also

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added pedals in this section to enlarge the sonority and make this section sounds as

powerful as an orchestra. (play)

Slide 20 (Conclusion)

The style of Strauss’ early works before the sonata was simple and restrained. The

violin sonata is the first work that contains complex characteristics that became an

expressive basis of his later tone poems.

This sonata was a turning point in his composition output, as can be heard in the

diverse and mature voice in this sonata. It uses the traditional sonata form with different

tone colors, musical language, dramatic expressivity. The utilizations of complex melodic

contours, wide ranges, large leaps in the melody, explosive ascending scales, and extreme

dynamics make this sonata one with great symphonic effect.

Though this sonata was written for only two instruments, it is more intrinsically

orchestral in design. The inherent grandeur that this sonata applied, as well as the

virtuosity, requires the players to think in an orchestral way to inform the imitation of

instrumental colors. This is today’s lecture part. Thank you all for your attention, and

now please enjoy our performance.

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